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Photography Week - 18 April 2018

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WE
NEED
ANOTHER
HERO
GOPRO’S CHEAPEST ACTION CAM YET DROPS 4K FOR AFFORDABILITY
T H E W O R L D ’ S B E S T-S E L L I N G D I G I T A L P H O T O M A G A Z I N E
12-18 A PR IL
I S S UE 290
INSPIR AT ION IDE A S IN-DEP TH RE V IEWS
VARIABLE ND TEST
EXPOSURE CONTROL
WITH A TWIST
EXTREME
EXPOSURE
HOW TO PLAN A PHOTO EXPEDITION TO THE
WORLD’S MOST CHALLENGING LOCATIONS
W
E
L
C
O
M
E
JOIN THE CLUB...
Welcome to the world’s
No.1 weekly digital
photography magazine.
If you’re already a
reader, thanks for your continued
support and involvement; if you’re
new to Photography Week, you’ve
come to the right place! In addition
to expert advice, brilliant tips and
step-by-step tutorials, every issue
features interactive galleries of the
best new photos, how-to videos on
essential shooting and editing
techniques, and in-depth reviews
of the latest camera kit.
But that’s not the whole story.
Photography Week is more than
a magazine – it’s a community
of like-minded people who are
passionate about photography.
To get involved, just follow any
of the links below and share your
shots and comments – your photo
might even appear on our cover!
JOIN T HE PHOTOGR APHY WEEK
COMMUNI T Y AND S TAR T SHAR ING!
FACEBOOK
http://tiny.cc/7s2zgy
TWITTER
http://tiny.cc/xt2zgy
FLICKR
http://tiny.cc/nv2zgy
We’re more than just a magazine – read on and discover the many
ways you can interact with and enjoy Photography Week
CONTENTS
FIND OUT WHAT’S INSIDE THIS ISSUE
NEWS
F E AT U R E
GOPRO HAS A NEW HERO
New action camera drops 4K
but is GoPro’s cheapest yet
F E AT U R E
EXTREME EXPOSURE
All you need to know to plan the
photo expedition of a lifetime
PHOTOS
GALLERY
Our pick of the best reader
Ĝĵ±čåŸüųŅĵƤ±ųŅƚĹÚƋĘåƵŅųĬÚ
I N S P I R AT I O N
I N S P I R AT I O N
EVEREST BY NIGHT
Timelapse captures stunning
shots of world’s highest peak
CRASH COURSE
PURR-FECT PET PICS
Learn how to shoot engaging
portraits of cats and dogs
PHOTOS
PHOTOSHOP
PHOTOSHOP
MASTER MONO IN RAW
Use Camera Raw’s tools to make
striking black and white images
CRASH COURSE
GEAR
VARIABLE
ND FILTERS
We check out
ƋĘåƤÆåŸƋŅŞƋĜŅĹŸ
for controlling long
exposures with a
flick of the wrist
N
E
W
S
W H AT ’ S H O T
THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY
GOPRO’S CHE APEST HERO YE T
DI TCHES 4K FOR LOWER PR ICE
Latest offering from the action cam pioneers is one for the everyman
T
he rumors of a new entry-
cameras than GoPro’s previous budget-
built-in 2-inch touch display, providing
level GoPro action camera
oriented Session models. The latter lack
a smartphone-like user interface, and
have been put to rest with the
true built-in displays, and instead rely on
is waterproof out of the box (up to
announcement of a new camera simply
a paired smartphone for viewing video
10m) without the need for a dedicated
call Hero. At £200/$200 it’s the cheapest
and accessing some controls.
housing. While it lacks 4K video
capabilities, the Hero can shoot HD
GoPro yet, and it’s an action cam that’s
designed very much for the everyman.
The Hero, which is on sale now,
Half-price Hero
video at 1440p and 1080p at up to 60fps,
The new Hero is half the price of GoPro’s
and captures 10MP stills.
It also comes with the voice control
is aimed at those who aren’t serious
flagship Hero6 Black, but despite the
action cam enthusiasts, but who want
lower cost it looks to have enough
feature seen in the Hero5 and Hero6
to capture their adventures without the
bells and whistles to keep casual
range of cameras, making video capture
limitations of a smartphone camera.
videographers happy.
fun and easy. Video stabilisation is built-
In terms of design the new Hero is
closer to the premium Black and Silver
Like the Hero5 Black and the Hero6
Black, the new camera features a
in, and it’s compatible with most existing
GoPro mounting accessories.
F
E
A
T
U
R
E
Ben and James take in the
awesome view at Reynisdrangar
Æå±ÏĘĹå±ųƤšĜĩĜĹFÏåĬ±ĹÚţ
TAKE THE PHOTO TRIP OF A LIFETIME
TIME FOR ADVENTURE
See the world and hone your craft as Ben Brain and James Paterson
show you how to plan the perfect photographic expedition
e all love a holiday,
but many of us have
experienced the ‘oh no, not
again’ look on a family member’s
face as we pull out the tripod
for yet another landscape shot.
Perhaps it’s time to stop disrupting
ƋĘåü±ĵĜĬƼĘŅĬŸ±ĹÚƤčåƋŸåųĜŅƚŸ
about travel photography…
Imagine spending a few
exquisite days with just your
camera and a like-minded friend.
A dedicated trip offers a unique
W
chance to devote your time entirely
to taking photos, and honing your
craft in some of the most stunning
locations on Earth.
There are plenty of photography
touring companies out there that
will do the legwork for you, but
organising your own adventure can
be just as rewarding (and probably
ÏŅŸƋŸ±ƤčŅŅÚÚå±ĬĬ域šţBåųåØƵåűĬĬ
ŸĘŅƵƼŅƚĘŅƵƋŅƤŞĬ±ĹƋĘåŞåųüåÏƋ
photo trip: what to take, how to
maximise your time, and more…
F
E
A
T
U
R
E
PREPARE RIGHT
eĬĬƋĘåĩĜƋƼŅƚĹååÚƋŅĵ±ĩåƤƼŅƚų±ÚƴåĹƋƚų埱üåØƤŸåÏƚųåƤô±ĹÚÚųƼ
pending time thinking seriously
about what kit and clothing you
need to take on a photo trip is
a crucial part of the process. Whether
ƼŅƚűųåčŅĜĹčƋŅƤƋĘåĹå±ųěeųÏƋĜÏÏŅĹÚĜƋĜŅĹŸ
of Iceland or the sunny Carribbean, resist
the urge to pack every bit of kit you own.
Think long and hard about what
images you’re hoping to shoot and what
you’ll need to capture them. Do you really
need your macro lens or a flashgun if
you’re shooting landscapes? Maybe not.
Once you’re got your pared-down list,
try planning a short day excursion to test
the efficiency of your system. There will
almost always be an “Oh how I wish I’d
brought my ...” moment. On our Iceland
trip we found that a second tripod plate
would have been exceptionally useful, as
would extra lens cloths - but at least now
we know for the next time.
S
JAMES AND BEN’S KIT BAG ESSENTIALS
Plan carefully so that you take what you need, but nothing more
1CAMERAS
If you can, it’s a good idea
to take a spare camera body.
œåƚŸåÚ±cĜĩŅĹ%íŎLjüŅų
Ņƚųĵ±ĜĹÆŅÚƼ±ĹÚ±%ƀLjLj±Ÿ
back-up. Keep the spare body
in your hotel room to save on
weight while out shooting.
2LENSES
Which lenses to take
is perhaps the biggest
dilemma. Ben took a classic
Ĭ±ĹڟϱŞåƖĉĵĵüxŎţĉرĹ
íLjěƖLjLjĵĵüxƖţí±ĹÚ±ĂLjĵĵ
üxŎţĉŸƋ±ĹÚ±ųÚŞųĜĵåţI±ĵåŸ
packed superzooms.
3FILTERS
We packed Lee Filters’
Ĝč„ƋŅŞŞåųŠŎLjŸƋŅŞŸš±ĹÚ
XĜƋƋĬå„ƋŅŞŞåųŠŸĜƻŸƋŅŞŸšc%
ĀĬƋåųŸ±ĬŅĹčƵĜƋĘ±Æ±ŸĜÏŸåƋ
Ņüčų±ÚŸØŞĬƚŸ±ƤťœÏĜųÏƚĬ±ų
ŞŅĬ±ųĜŸåųرƤBŅƼ±ƀƖĜĹüų±ųåÚ
±ĹÚ±ƤÆŅÚƼÏ±ŞŞĜĹĘŅĬåţ
3
6
2
1
4
5
4LENS CLOTHS
The most useful accessory
by far was a lens cloth and
±ÏĘå±ŞĵĜÏųŅěĀÆųåÏĬŅƋĘ
ŠüųŅĵ±Ę±ųÚƵ±ųåŸƋŅųåšƋŅ
wipe away water, spray and
droplets from the camera,
ĬåĹŸ±ĹÚĀĬƋåųŸţ
5COMPUTER GEAR
To download, back up and
assess images on the go, we
took an Apple MacBook Pro
and a LaCie Rugged Mini
hard drive, along with all the
necessary cables, chargers
and adaptors.
6NOTE-TAKING KIT
A smartphone and note
book are useful. While a
phone is essential for helping
you stay in touch, most
phones have built-in GPS,
so a quick shot will help you
pinpoint your location.
F
E
A
T
U
R
E
PREPARE RIGHT CONTINUED
THE WELL-DRESSED ADVENTURER
Extreme climates are much easier when you get the right clothes
he old Scandanavian adage
“There’s no such thing as bad
weather, only the wrong clothing”
couldn’t be more true when it comes to
shooting in Iceland. Being cold and wet
can make even the most epic location an
utter misery. But thanks to a wardrobe of
T
Keela clothing, we were able to spend
hours in the rain, snow, spray and wind of
a north Atlantic beach feeling toasty.
‰ĘåƋųĜÏĩĜŸƋŅÆƚĜĬÚƼŅƚųÏĬŅƋĘĜĹčƚŞƤĜĹ
layers, each of which plays an important
role in keeping you dry and warm. Don’t
skimp, or you’ll be sorry!
BASE LAYER
MID-LAYER
THERMAL LAYER
SHELL LAYER
ADS Long Sleeve Zip Top,
ƊƖLjſ„åųĜåŸƐLjLjŸŅÏĩŸØ
ƊŎLjſƤüųŅĵUååĬ±ţIå±ĹŸüųŅĵ
TK Maxx.
aƚĹųŅ„±ĬŅŞåƋƋåŸØƊŎƐLjſ{ƚĬŸå
aĜÏųŅ8ĬååÏå‰ŅŞØƊƐLjſcåÏĩ
8ĬååÏå:±ĜƋåųØƊíſüųŅĵƤUååĬ±ţ
„ĘåųޱI±ÏĩåƋØƊŎLjLjſüųŅĵ
Keela. Boots, Ben’s own
(they turned out not to be as
Ƶ±ƋåųŞųŅŅü±ŸĘåƋĘŅƚčĘƋšţ
aƚĹųŅI±ÏĩåƋØƊŎíLjſ{ŅĬ±Ï±ŞØ
ƊƖƖſüųŅĵUååĬ±ţœĜĹƋåų
:ĬŅƴåŸØƊĉLjſüųŅĵƤ„å±ĬŸĩĜĹDŽţ
WHAT TO CARRY
Take accessories that can
stand up to the elements
BAG
‰Ęåa±ĹüųŅƋƋŅkýųŅ±ÚĜŸčųå±ƋüŅųƤƋĘå
outdoors, Look for a bag that’s well
protected from the elements, is comfy to
wear for long periods, and has areas for
non-photography kit and spare clothing.
TRIPOD
A sturdy tripod is vital for the intrepid
Ĭ±ĹڟϱŞåŸĘŅŅƋåųţœåƤƋŅŅĩ±
lightweight Gitzo Mountaineer and
a simple Manfrotto three-way head.
FƋƤʱÚƋŅčŅĜĹƋĘåĘŅĬÚų±ƋĘåųƋʱűŸ
hand luggage, but thankfully it made
it through unscathed.
F
E
A
T
U
R
E
PLAN YOUR SHOOTS
aĜƻĜƋƚŞ×ųåƴĜŸĜƋĜÏŅĹĜÏŸÏåĹåŸĜűƴ±ųĜåƋƼŅüÏŅĹÚĜƋĜŅĹŸ
he time of day, the
light quality and
the weather all play
a huge part in the look of
your scene. Over the space
of our four-day trip we
encountered snow, driving
rain and warm sunshine.
If it’s a shot you want to
perfect, plan several visits
to the location. Going
back repeatedly
gives you the
chance to hone
your composition
and try out new
angles, until you
get the result
you hoped for.
Patience pays off.
T
Day 1
Day 2
Day 3
Day 4
F
E
A
T
U
R
E
10 WAYS TO GET THE
MOST OUT OF YOUR TRIP
8ŅĬĬŅƵŅƚų±ÚƴĜÏåƋŅčƚ±ų±ĹƋåå±Ę±ŸŸĬåěüųåå
ŞĘŅƋŅčų±ŞĘĜϱÚƴåĹƋƚųåØƵĘåųåƴåųƼŅƚčŅ
1
WAKE UP EARLY
The best light is usually first thing in
the morning, so strike a compromise
between late-night fun and getting up
early to catch the sunrise.
2
HIRE A CAR
Mobility is vital for getting to the
best spots at the ideal times of day.
eĹÚĜĹƱÚƵå±ƋĘåųØƋĘåƤĘĜųåϱų
ÆåÏŅĵ埱ƤŸĘåĬƋåų±ĹڱűĜųĜĹč
cupboard in one.
3
DO YOUR RESEARCH
Know how many hours’ drive that
waterfall is from your hotel? Are the
roads good? Find out.
4
PLAN YOUR DAYS
Time is limited on a trip, so
maximise it by planning your itinerary
beforehand, and don’t try to fit too
much in, or you’ll spend the entire
ƋųĜŞƤĜĹƋĘåϱųţ
5
TRAVEL LIGHT…
Carrying heavy gear all day will
leave your back aching, and may
hinder you the next day. Make
sensible choices about the lenses
CHOOSE YOUR MOMENT
The motion of the ocean makes for
čųå±ƋŸĘŅƋŸôÆƚƋƤĬĜĩåüŅųƤ±ƤŸƚųüåųØ
it’s all about the perfect wave…
With a long exposure, a crashing wave can
become a dreamlike mist that drifts between
the rocks on the shore. To reach the kind of
ŸĘƚƋƋåųŸŞååÚƼŅƚĹååÚüŅųƋĘĜŸØ±Ĺc%ĀĬƋåų
is essential.
It’s also about waiting for the right
ĵŅĵåĹƋţeŸƋĘåƼÏų±ŸĘĜĹØƵ±ƴ埱ųå±Ƥĵ±ŸŸ
of shapeless churning white water. They
often look better as they draw back, weaving
in and out of rocks, forming little pools and
swirling lines. So experiment by timing your
long exposure. The best angle might mean
getting close to the waves, particularly if
you’re using a wide-angle lens – but keep
your camera bag on your back, and be ready
to run if you spot a big one!
and other gear that you’ll need for
±ƤĬĜčĘƋåųĩĜƋƱčţ
6
…BUT PACK SPARES
7
%0/553:50'*5*/ç500.6$)
8
GET LOCAL KNOWLEDGE
9
DATA ROAMING
Think about the most essential
items you’ll need and, where possible,
bring back-ups. A misplaced tripod
plate nearly spelled disaster for us.
There’s always a temptation to
do and see everything. But it takes
ƋĜĵåƋŅĘŅĹ屟ĘŅƋرĹÚ±ƤŸÏ±ƋƋåųčƚĹ
approach will show in your photos, so
allow plenty of time at each location.
If you know anyone who’s been
before, quiz them on everything from
the best shooting spots to the nicest
eateries. And chat to hotel staff or any
friendly face for local tips.
It may cost more, but it’s worth
enabling data roaming on your
smartphone to help maximise your
time. You’ll be able to use satnav, scout locations, and look for
restaurants or petrol.
10
DON’T FORGET DINNERTIME
Sunsets often coincide with
evening meals, so if you want to shoot
the golden hour, be sure to check
the last ordering time at your hotel or
nearest restaurant.
F
E
A
T
U
R
E
CHECK THESE OUT
BEFORE YOU LEAVE!
œĜƋĘĬĜĵĜƋåÚƋĜĵåØüŅųƵ±ųÚŞĬ±ĹĹĜĹčƵĜĬĬĘåĬŞƼŅƚčåƋƋĘåÆåŸƋŅƚƋŅüyour
ƋųĜŞţåŸå±ųÏĘĜŸƴĜƋ±ĬرĹÚ±ŞŞŸ±ĹÚĵ±ŞŸƵĜĬĬĘåĬŞƼŅƚŞĬ±ĹƼŅƚųÚ±ƼŸţ
2
ONLINE MAPS
4
APPS
Google Maps or OpenStreetMaps are great places to
start. In Google Maps, you can turn on photos in the bar
at the bottom, where helpful photographers have posted
images and location data. You can digitally scout out your
locations in advance, and prioritise the best spots for
photography.
1
THE WEATHER
The weather is easily your most important consideration.
Check the forecast regularly, and be ready to adapt your
plans. Don’t despair if gorgeous sunsets look unlikely: try a
moody monochrome instead.
3
PRINT MAPS Photographer’s shooting guides and maps
are becoming increasingly available, particularly
for popular destinations like Iceland. International
Photographer’s Iceland Map showed us the best spots.
Planning where you want to be at sunrise and sunset will
ĘåĬŞƼŅƚÆåĜĹƋĘåųĜčĘƋŞĬ±ÏåƵĘåĹƋĘåŸÏåĹåĜŸŠĘŅŞåüƚĬĬƼš
ƱƋĘåÚĜĹÆå±ƚƋĜüƚĬĬĜčĘƋţœåÆŸĜƋ埱ĹÚƤ±ŞŞŸĬĜĩåƋĘå
Photographer’s Ephemeris are very useful for checking the
angle of the sun at any time of day.
F
E
A
T
U
R
E
LONG-EXPOSURE MASTERCLASS
%ĜŸÏŅƴåųĘŅƵƋŅĵ±ŸƋåųƋĘå±ųƋŅüŸĬŅƵŸĘƚƋƋåų
ŸŞååڟرĹÚčĜƴåƼŅƚųĬ±ĹڟϱŞåŸ±ÆŅŅŸƋ
åŅüƋåĹĹååÚƋŅčŅƋŅƤčųå±Ƌ
lengths to capture the perfect
landscape – and in more ways
than one. It’s not just about lugging
W
Ęå±ƴƼčå±ųŅƴåųĵĜĬåŸŅüƤųƚččåÚ
terrain – we’re talking shutter speeds
ƋŅŅţeƋƤĬŅĹčåųÚƚų±ƋĜŅĹŸƼŅƚųåƻŞŅŸƚųå
ϱĹĬåĹÚƤŸÏåĹ埱ŸåųåĹåÆå±ƚƋƼÆƼ
blurring the motion of clouds or water.
It’s an endlessly appealing effect,
and one that almost always helps
ƋŅƤåĬåƴ±Ƌå±Ĭ±ĹڟϱŞåţ
Dritvik beach,
Snæfellsnes peninsula
cĜĩŅĹ%íŎLjƵĜƋĘíLjěƖLjLjĵĵ
üxƖţíĬåĹŸŞĬƚŸƵĜƋĘXååĜč
„ƋŅŞŞåųŠŎLjŸƋŅŞŸšſ
ƐLjŸåÏŸ±ƋüxŎĉØF„kƅĉ
CLEAN YOUR
FILTERS
In dramatic locations
such as Iceland, the rain,
hail, sleet, snow and, worst
of all, sea spray can be a
great big pain. Pack
plenty of lens cloths
in your bag
GET A FILTER!
œĘƼƼŅƚĹååÚc%üĜĬƋåųŸƋŅƋ±ĩåƤÆå±ƚƋĜüƚĬƤĬŅĹčåƻŞŅŸƚųåŸ
Unless you’re shooting at night, your
ϱĵåų±ƤƵĜĬĬŸƋųƚččĬåƋŅųå±ÏĘƋĘåĩĜĹÚ
of long exposures that you need to blur
ĵŅƋĜŅĹţcåƚƋų±ĬěÚåĹŸĜƋƼŅųc%ĀĬƋåųŸ±ĬĬŅƵ
ƼŅƚƋŅŸƋåĵƋĘåāŅƵŅüĬĜčĘƋĜĹƋŅƼŅƚų
camera, unlocking the door to longer
exposures and beautiful photos.
c%ĀĬƋåųŸÏŅĵåĜĹƴ±ųƼĜĹčŸƋųåĹčƋĘŸţ
eƋƤƋĘååƻƋųåĵååĹÚŅüƋĘåŸÏ±Ĭå±ųåŎLjěŸƋŅŞ
c%ĀĬƋåųŸƋʱƋĵƚĬƋĜŞĬƼŸĘƚƋƋåųŸŞååÚŸÆƼ±
thousand. Using one requires patience, the
right kit, and a good dose of trial and error.
‰ĘåųĜčĘƋĀĬƋåųŸƋųåĹčƋĘƵĜĬĬƴ±ųƼÚåŞåĹÚĜĹč
on the speed of the clouds or water. In
strong winds you might only need a second
or two for a good blur, which can usually be
±ÏĘĜåƴåÚƵĜƋʱƐěŅųĉěŸƋŅŞc%ĀĬƋåųţƚĜĬÚ
up a collection to broaden your choices.
F
E
A
T
U
R
E
LONG-EXPOSURE MASTERCLASS CONTINUED
THE EFFECT OF A
NEUTRAL DENSITY FILTER
How an ND filter and closing
your viewfinder can help
VIEWFINDER OPEN
Light hitting the sensor through the
åƼåŞĜåÏåϱĹϱƚŸåā±ųåţ
Capturing the right wave
pattern is an art. After a couple
of hours you’ll start to get the
hang of how the water moves
SET UP A LONG EXPOSURE
Follow these five steps to achieve slow-exposure shots
VIEWFINDER CLOSED
„ĜĵŞĬƼÏĬŅŸåƋĘåƴĜåƵĀĹÚåųŸĘƚƋƋåų±ĹÚ
ƱĹĜŸĘŸåĹŸŅųā±ųåţ
1
STABILISE YOUR TRIPOD
Extend the thicker legs
ĀųŸƋØƋĘåĹƋĘåƋĘĜĹĹåųŸåÏƋĜŅĹŸţ
Framing you shot vertically?
Screw the tripod plate in tight.
2
PREVENT SHAKE
Engage your DSLR’s mirror
ĬŅÏĩěƚŞŅųƚŸåXĜƴåšĜåƵرĹÚ
use a cable release to take
the shot.
3
SET UP THE FILTER
Focus on your subject and
switch the lens to manual
ÆåüŅųåƼŅƚ±ƋƋ±ÏʱĹc%ĀĬƋåųţ
kĹÏåĜƋűŸŅĹƼŅƚųƴĜåƵĀĹÚåų
will be useless, but it can still
leak light, so cover it.
WITHOUT AN ND FILTER
Some scenes can look dull at fast
ŸĘƚƋƋåųŸŞååÚŸţ‰ĘĜŸĜŸŎxŎƖĂŸåÏţ
4
WITH AN ND FILTER
A slower shutter speed will instantly
improve your images.
FRAME WITH LIVE VIEW
Even though you can’t
ŸååƋĘųŅƚčʱŎLjěŸƋŅŞĀĬƋåųØ
XĜƴåšĜåƵŞųŅƱÆĬƼϱĹţ‰ƚųĹ
ĜƋŅűĹÚƋåĵŞŅų±ųĜĬƼāĜÏĩ
the Mode dial to P, and you
ŸĘŅƚĬÚčåƋ±ÚåÏåĹƋŠĜüĹŅĜŸƼš
view of your scene – enough
ƋŅĀĹåěƋƚĹåÏŅĵŞŅŸĜƋĜŅĹŅų
tweak the focus.
5
WORK OUT YOUR EXPOSURE
)ƴåųƼŸƋŅޱÚÚåÚÆƼƼŅƚųĀĬƋåųÚŅƚÆĬåŸƋĘåĜĹĜƋĜ±ĬŸĘƚƋƋåų
ŸŞååÚţ‰ŅƤƋŅƵŅųĩĜƋŅƚƋØŸƵĜƋÏĘƋŅa±Ĺƚ±ĬĵŅÚå±ĹÚƋ±ĩå±Ĺ
ĜĹĜƋĜ±ĬƋåŸƋŸĘŅƋƵĜƋĘŅƚƋƋĘåĀĬƋåųţkĹÏåƼŅƚűųåĘ±ŞŞƼØŸĜĵŞĬƼ
ÚŅƚÆĬåĜƋÆƼƋĘåĹƚĵÆåųŅüŸƋŅŞŸƼŅƚųĀĬƋåųĜŸų±ƋåÚüŅųţ
F
E
A
T
U
R
E
TIME YOUR SHOT
‰ĘåųĜčĘƋüĜĬƋåųϱĹƋ±ĩåƼŅƚųĬ±ĹڟϱŞåŸƋŅƋĘåĹåƻƋĬåƴåĬØÆƚƋƵĘĜÏĘƋƼŞå
ĜŸƤÆåŸƋüŅųƼŅƚũeĹÚƵʱƋűŸƋĘå屟ĜåŸƋƵ±ƼƋŅϱĬÏƚĬ±ƋååƻŞŅŸƚųåƋĜĵåũ
ilters come in
different strengths,
up to 10 stops.
Confusingly, you’ll often find
that manufacturers differ in
how they label the strength
ŅüƋĘåĜųc%üĜĬƋåųŸţ„ŅĵåƵĜĬĬ
just quote the number of
stops, while others measure
ƋĘåÚåĹŸĜƋƼĜĹƚĹĜƋŸ×LjţƐ
ŠåŧƚĜƴ±ĬåĹƋƋŅŅĹåŸƋŅŞšØLjţƅ
ŠƋƵŅŸƋŅŞŸšØLjţĿŠƋĘųååŸƋŅŞŸš
and so on. And others still
will refer to the equivalent
multiplication of shutter
ŸŞååÚ×ƖƻŠŅĹåŸƋŅŞšØŎƅƻ
ŠüŅƚųŸƋŅŞŸš±ĹÚŸŅŅĹţ
You’ll also get different
results in your images
depending on the length
of your shutter speed. A
one-second exposure will
blur motion but still retain
some shape to a wave,
while a 10-second exposure
is more likely to result in a
hazy mist-like shoreline or
streaky clouds. Experience
and reference guides
can help you get close to
the right result faster, but
you should expect some
trial and error before you
achieve the perfect shot.
F
MULTIPLE
FILTERS
You can stack several
ĀĬƋåųŸƋŅčåƋĘåųţFüƼŅƚűųå
combining a 10-stopper and
±Ĺc%čų±ÚƋŅŸĬŅƵƋĘå
exposure and darken the
ŸĩƼØĀƻƋĘåŎLjěŸƋŅŞŞåų
closest to the lens.
Skógafoss Waterfall
cĜĩŅĹ%íŎLjƵĜƋĘƖĉĵĵüxŎţĉ
lens plus Lee Little Stopper
ŠŸĜƻƤŸƋŅŞŸšſĉŸåÏŸ±ƋüxŎŎØF„kƅĉ
FILTER STOPS EXPLAINED
6-STOP FILTER
10-STOP FILTER
1/125 sec
1/60 sec
1/30 sec
1/15 sec
1/8 sec
1/4 sec
1/2 sec
1 sec
2 sec
4 sec
8 sec
8ŅųåƴåųƼŸƋŅŞŅüĬĜčĘƋÆĬŅÏĩåÚÆƼ±ĹåƚƋų±ĬěÚåĹŸĜƋƼĀĬƋåųØƼŅƚÚŅƚÆĬåƼŅƚųåƻŞŅŸƚųåĬåĹčƋĘţ8Ņų±ƋƼŞĜϱĬÚ±ƼĬĜčĘƋŸĘƚƋƋåųŸŞååÚĬĜĩåŎxŎƖĂ
ŸåÏŅĹÚرŸĜƻěŸƋŅŞĀĬƋåųƵĜĬĬåƻƋåĹÚĜƋƋŅŒŸåÏØƵĘĜĬå±ŎLjěŸƋŅŞĀĬƋåųƵĜĬĬƋ±ĩåĜƋƋŅ±ÆĬƚųěĜĹÚƚÏĜĹčåĜčĘƋŸåÏŅĹÚŸţ
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XPOSURE
THE WEEK’S MOST INSPIRING READER PHOTOS
FLAME LILY
MARCELLO MACHELLI
“The flame lily is the national flower of Zimbabwe. This image will be
included in a themed book of 70 flower photos that I’m creating.”
http://tiny.cc/e949ry
G
A
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THE WEEK’S MOST INSPIRING READER PHOTOS
THE GIANTS CAUSEWAY
PETER GREENWAY
“This image shows the famous
Giants Causeway on the coast
of County Antrim, Northern
Island, caught in the last light
of the sunset. I wanted a long
exposure in order to get the
milky effect in the sea around
the causeway.”
http://tiny.cc/ai59ry
HOSTA
ROBIN TAYLOR
“This was taken in my back
garden on a dewy morning.
*çOPUJDFEUJOZESPQTPGEFX
around the perimeter of the
hosta leaf, and I focused on
BçESPQPOUIFUJQPGUIFMFBG
using the rest of the plant to
provide a green background.”
http://tiny.cc/1iqhqy
G
A
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THE WEEK’S MOST INSPIRING READER PHOTOS
MODEL FUR
IAN ROSS PETTIGREW
“The goal with this shoot was to capture the look and feel of old Hollywood portraits.”
http://tiny.cc/z2ljry
G
A
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THE WEEK’S MOST INSPIRING READER PHOTOS
PRAGUE CASTLE UNDER STARSç
JACKIE TRAN
“I’ve always wondered what the night sky above Prague castle would look like
if all the lights in the city were off. This is my pure fantasy from my head.”
http://tiny.cc/eb5coy
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Images © Elia Saikaly
THE BEST THING WE’ VE SEEN THIS WEEK
EVEREST AT NIGHT CAPTURED
IN AWE-INSPIRING TIMELAPSE
Filmmaker shoots stunning footage in a place where cameras – and humans – freeze
dventure filmmaker and climber
)ĬĜ±Ƥ„±Ĝĩ±ĬƼʱŸųåĬ屟åÚ±ŸƋƚĹĹĜĹč
ĹåƵƋĜĵåĬ±ŞŸåĵŅƴĜåŸĘŅƵϱŸĜĹč
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W AT CH T HE MOV IE
h t t p: // t iny. cc / t o1c s y
S
K
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CRASH COURSE
ESSENTIAL PHOTO SKILLS MADE EASY
TRY A PE T
PROJEC T
Jason Parnell-Brookes gets down
with the kittens, and shows you how
to get p-awesome shots of your pets
When an adorable-looking
cat or dog is around it’s
hard to resist the urge to
HOURS
pick up your camera and
start snapping away. But you might
find that the photos you take don’t
look that much more impressive than
what you could capture with your
smartphone, despite the fact that
2
you’ve got lots more exposure and
focusing options to play with.
However, with a little planning
±ĹÚƤüŅųåƋĘŅƚčĘƋƼŅƚϱĹÚų±ĵ±ƋĜϱĬĬƼ
improve your results. With just a couple
of lights and some paper you can
get sweet, playful, studio-style pet
portraits, whether you’re at home or
±ƋƤƼŅƚųĬŅϱĬ±ĹĜĵ±ĬųåŸÏƚåÏåĹƋųåţ
Having some treats and toys to
hand can help you to coerce your furry
friends into posing for you, and while it
make take your subjects a little while
to get used to the setup, once they’re
happy with you, your camera and
the lights you’ll be able to get great
images in no time. Here’s how to get
some furry good shots…
S
K
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STEP BY STEP THE CAT’S WHISKERS
1
SELECT BURST MODE
While dogs can often be persuaded to sit still
for a while, cats in particular are likely to move
around while you’re shooting, so select your
camera’s burst shooting mode and ensure that
it’s set to the maximum frame rate.
2
GO LONG
Using a wide-angle lenses and getting in close
is great for capturing engaging images in which
the cat or dog appears to have a big head and
a small body. Some cats are likely to slink off if
fussed over, though, so you may need a longer
lens to enable you to keep your distance.
3
POSITION YOUR LIGHTS
To get the best spread of light use two lights set
camera-left and right, pointing at a 45-degree
angle towards the pet and the backdrop. You
shouldn’t need to use the lights at full power, so
choose ¼ or half power for faster recycle times.
PAWS FOR THOUGHT
In addition to taking fulllength photos and head
shots of your cat or dog,
spend some time focusing
on details. Fill the frame
with their eyes, paws,
claws, whiskers in the case
of cats, and any striking
patterns in their coat.
Shots of pets playing with
a favourite toy can also be
especially engaging.
S
K
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S
STEP BY STEP THE CAT’S WHISKERS
4
SET YOUR EXPOSURE
There’s no ambient light in these setups, so
use the maximum flash sync speed of your
camera – ours was 1/200 sec. To keep the
entire cat in focus we used f/8 at ISO200, to
give the photo a little exposure lift without
introducing too much noise.
5
GET DOWN LOW
Crouching or kneeling is fine if you’re using a
longer lens, but if you’re shooting with a wider
lens you’ll need to get down to the animal’s
eye level, which also enables you to capture
more intimate and engaging images.
6
SHOOT DIFFERENT POSES
Sitting and begging poses will make everyone
go ‘awww’, while cats getting ready to
pounce, or jumping for a string with their
teeth and claws bared, look impressive. But
ultimately, you may find you have to shoot
whatever pose your pet strikes for you!
QUICK TIP
Black cats and dogs can be tricky to expose,
as left to its own devices your camera will
treat them as a midtone and underexpose. If
in doubt use Manual mode, or use exposure
compensation with semi-auto modes.
E
D
I
T
I
N
G
C A M E R A R AW
LEARN ESSENTIAL EDITING SKILLS FAST!
D O W NL O A D T HE
P R O J EC T F I L E S
h t t p : // t i n y. c c / 9 t 19 r y
ON A PC OR MAC
HOW TO...
BOOST MONO CONTRAST IN RAW
Discover how a few simple adjustments in Camera Raw can have
a dramatic impact on the look of your black and white images
n this video tutorial we’ll
show you how to create
striking mono images
using nothing more than the
adjustment sliders and tools in
Adobe Camera Raw. Not only
I
can you convert images to mono
very effectively in Camera Raw,
it’s also got powerful tools for
making selective edits, enabling
you to perform the dodging and
burning that are essential for
creating contrast in black
and white images. And, as
you’re working in Camera
Raw, all your edits are fully
adjustable, giving you lots
of scope to experiment.
W AT CH T HE V IDEO
h t t p : // b i t . l y/ 2 f 8 d a c o
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MINI TEST
VARIABLE
ND FILTERS
Capture stunning long exposures in a variety of lighting conditions
eutral density filters are just
the ticket for enabling long
exposures to smooth out a
seascape or blur crowds. The trouble
is that you need to carry a selection
ŅüƤüĜĬƋåųÚåĹŸĜƋĜåŸƋŅÏŅƴåųÚĜüüåųåĹƋ
lighting conditions, or to achieve a
desired shutter speed. If only one
üĜĬƋåųƤÏŅƚĬÚÚŅĜƋ±ĬĬñ‰ĘåÆå±ƚƋƼŅü±
variable ND, or fader, filter is that it
N
ϱĹƤÚŅĜƋ±ĬĬرĬÆåĜƋƵĜƋĘ±Ï±ƋÏĘţ
Variable NDs work by combining
ƋƵŅƤŞŅĬ±ųĜDŽĜĹčĬåĹŸåŸØƵĜƋĘŅĹå±ÆĬå
ƋŅƤųŅƋ±ƋåĜĹüųŅĹƋŅüƋĘåŅƋĘåųţ‰Ęå
ųåŸƚĬƋƤĜŸ±ÏŅĹƋųŅĬĬ±ÆĬå±ĵŅƚĹƋŅüĬĜčĘƋ
transmission, plus you get an added
ŞŅĬ±ųĜDŽĜĹčÆåĹåüĜƋŅüųåÚƚÏåÚčĬ±ųåţ
However, there are limits to this tech:
go too dark and brightness becomes
uneven across your image. Filter
manufacturers warn about this, but
they rarely mention that it can become
an issue well before you reach the
maximum density, although stay away
from the maximum and you’ll only
notice it in a very plain scene.
We tested each filter in our lab and
found that some produce a colour
cast, though none was severe enough
to be distracting in real-world shots.
FIVE THINGS TO LOOK FOR When it comes to variable NDs, some options are especially desirable
Density rating
A variable ND
with a density range
of ‘ND2-ND400’ gives
a 1-stop reduction in
light transfer at ND2; at
ND400 it’s 8 2/3 stops.
1
The X factor
With any variable
ND filter, at maximum
density or close to it
you’ll see a cross effect
that creates an uneven
exposure.
2
Don’t go wide
Variable NDs
can create some nasty
effects when used with
ultra-wide lenses, so
they’re best used at
longer focal lengths.
3
Get a grip
A larger-diameter
rear element with a
textured rim gives more
grip when screwing the
filter to your lens than
the front element.
4
Finishing touches
A good variable
ND filter will have
special coatings that
help to improve light
transmission and/or
repel moisture.
5
MINI TEST: VARIABLE ND FILTERS
SRB Neutral Density
Fader Filter
Hama Vario ND2-ND400
Neutral-Density Filter
£33/$46 (52mm) £40/$56 (77mm)
£33/$46 (52mm) £51/$71 (77mm)
www.srb-photographic.co.uk
www.hama.com
SRB’s filter is identical in
design to the Hama Vario
on the right, even down to
the same type of printing
to mark the density range
and min/max points. It also
costs the same for the
smaller filters, but kudos to
SRB for pricing the larger
ŸĜDŽåŸĵƚÏĘĵŅųåĩååĹĬƼţ
Like its Hama
doppelganger, the SRB
filter puts in a sound
performance for light
neutrality, barely
generating a colour cast,
even in lab testing. It does,
however, also share the
Hama’s slightly lower
sharpness performance,
and you get a slightly
lower 3-stop reduction
before the inevitable
variable ND cross pattern
VERDICT
comes into view. This isn’t
too surprising, as the SRB
glass is rated for a slightly
narrower 7 2/3-stop
ND4-ND400 density range,
compared to Hama’s 8 2/3
stopper.
You can’t expect a
budget filter such as this to
be loaded with features, so
predictably there isn’t a
hydrophobic coating to
repel raindrops or oil.
PROS Respectable
ÏŅĬŅƚųƤĹåƚƋų±ĬĜƋƼſƴåųƼ
ƵåĬĬƤŞųĜÏåÚØåŸŞåÏĜ±ĬĬƼ
üŅųƤĬ±ųčåųÚĜ±ĵåƋåųŸ
CONS Limited density
range before unevenness
becomes evident
WE SAY Tough to separate
from the Hama filter, apart
from pricing
It may be a budget buy,
but Hama’s filter puts in a
respectable performance,
generating just a trace of
±ƤƼåĬĬŅƵϱŸƋĜĹŅƚųƋåŸƋŸ
– although sharpness is
slightly down on the
competition. You get 1-8
2/3 stops of light
reduction, but will need
ƋŅƤŸƋĜÏĩƋŅƐƖxƐŸƋŅŞŸŅų
less to ensure perfectly
even exposure.
Inevitably the filter’s
build and finish don’t feel
as premium as that of
some of the others on test,
with audible scraping
between the rotating
elements, and there are no
hard stops – only printed
markings – to indicate
minimum and maximum
densities. The fixed
VERDICT
portion of the filter is a
larger diameter than the
rotating front ring though,
so it’s fairly easy to grip
when you’re fitting and
unscrewing it.
Hama claims the filter
ĜŸƤÏŅ±ƋåÚØÆƚƋčĜƴåŸĬĜƋƋĬå
ÚåƋ±ĜĬ±ŸƋŅƋĘåÆåĹåüĜƋŸţFƋƤ
certainly doesn’t include
moisture or fingerprint
resistance though, as the
filter attracts both.
PROS Respectable
performance for the
money; comfortable to
üĜƋƤ±ĹÚųåĵŅƴå
CONS No-frills design,
üĜƋƤ±ĹÚüĜĹĜŸĘſĹŅƋčŅŅÚĜĹ
wet weather
WE SAY If you’re on a
ƋĜčĘƋƤÆƚÚčåƋØƋĘĜŸüĜĬƋåųĜŸ
±ƤŸŅƚĹÚÆƚƼ
MINI TEST: VARIABLE ND FILTERS
Marumi DHG Vari
ND2-ND400
Hoya Variable Neutral
Density Filter
£55/$93 (52mm) £98/$158 (82mm)
£100/$59 (52mm) £189/$130 (82mm)
www.kenro.co.uk
XXXIPZBmMUFSDPN
With its ND2-ND400
density range, Marumi’s
filter enables 1-8 2/3
ŸƋŅŞŸƤŅüĬĜčĘƋųåÚƚÏƋĜŅĹţ
Inevitably, you’ll need to
stop well short of the max
if you want a completely
balanced exposure, and
we found 3 1/3 stops to
ÆåƤƋĘåĵ±ƻĜĵƚĵÚåĹŸĜƋƼ
with no sign of brightness
inconsistency. Colour
neutrality is almost
flawless, with just a hint
ŅüƤ±Ƶ±ųĵƋŅĹåƵĘåĹ
shooting a neutral test
surface, and no visible
colour casts evident in
real-world shooting.
Marumi’s build quality
ĜŸƤĵŅųåƋʱűÏÏåŞƋ±ÆĬå
for the money, with fairly
smooth rotation but also
±ƤčŅŅÚ±ĵŅƚĹƋŅü
VERDICT
resistance. There’s also a
ridged texture around the
fixed section, so it’s easy
to grip while fitting and
unmounting. The only real
minor omission is a lack of
hard stops to mark each
end of the density
spectrum. No mention is
given to advanced
coatings, but the filter
does repel water quite
well, and fingerprints
rarely stick.
PROS Easy to fit; quite
weather-resistant;
reasonable price
CONS Relatively narrow
density range before
unevenness appears;
slight colour cast
WE SAY Not perfect, but
±ƤŞĬ屟ĜĹčŞåųüŅųĵåų
Hoya’s entry looks and
feels like a decent quality
product, but issues
become apparent during
use. The fixed portion is
smooth and the same
diameter as the rotating
front element, so you
inevitably just rotate this
rather than the whole filter
when attaching to your
lens. The problem is
compounded by the lack
of hard stops to prevent
the front element rotating
further than the maximum
or minimum densities.
These range between
1.5 and 9 stops. We found
the maximum completely
even density to be around
4 stops, which sounds
poor, but is actually joint
best with the Syrp filter.
VERDICT
The two filters are less
closely matched for
neutrality, however, as in
our lab tests the Hoya
glass generated a small
but noticeable yellow cast
at darker densities.
We were also
disappointed by the
apparent lack of effective
lens coatings, as the filter
does nothing to bead
away water or resist
fingerprints.
PROS Good outright
density range; wide range
before cross effect
appears
CONS Average neutrality;
fiddly to fit and remove
WE SAY There are
better-value options
available in the UK
MINI TEST: VARIABLE ND FILTERS
B+W XS-Pro Digital ND
Vario MRC Nano
Syrp Variable
ND Filter
£224/$189 (52mm) £314/$273 (82mm)
£139/$139 (Small) £189/$189 (Large)
XXXNBOGSPUUPDPVLCXmMUFST
www.syrp.co.nz
This is one pricey screw-in
filter, but maker Schneider
Optics claims it’s a cut
above the competition
thanks to a Multi Resistant
Coating. An uncoated
üĜĬƋåųƤϱĹųåüĬåÏƋ±ųŅƚĹÚ
ĉŢƤŅüĬĜčĘƋØÆƚƋƋĘĜŸŅĹå
reflects just 0.5%, while
±ĬŸŅĵĜĹĜĵĜDŽĜĹččĘŅŸƋĜĹč
and reflections, and
repelling water.
The filter is 9mm deep,
not including the thread,
with knurling around the
fixed ring that makes it a
doddle to fit and unscrew.
The rotating front ring has
hard stops to mark the
minimum and maximum
filter densities, with
markings in between,
although these don’t
correspond to f-stop light
VERDICT
reduction amounts.
Rotation is nice and
smooth, with just the right
amount of resistance.
The filter is said to
provide between 1 and 5
stops of light reduction,
which we found to be
accurate, though expect
uneven light transfer to
become apparent beyond
around 3 1/3 stops of
reduction.
PROS Well made; a
pleasure to use; beads
away water
CONS Very expensive;
image quality is only on
±ƤޱųƵĜƋĘÏĘå±Şåų
alternatives
WE SAY A great-quality
filter, but the price is still
tough to justify
Syrp likes to do things a
ÆĜƋƤÚĜüüåųåĹƋĬƼرĹÚåƴåĹĜƋŸ
humble Variable ND Filter
gets a unique treatment.
FƋƤÏŅĵåŸŞ±Ïĩ±čåÚĜű
classy cylindrical
cardboard outer carton,
and the filter itself gets a
round, leather-wrapped,
DŽĜŞŞåÚŸƋŅų±čåŞŅƚÏĘţ
Instead of the usual
ų±ĹčåŅüüĜĬƋåųŸĜDŽåŸØƋĘåųå
are only two core versions
of the Syrp filter: a 67mm,
and an 82mm. The former
comes in the Small kit
option, which includes
adapter rings to mount the
filter to 58mm and 52mm
lenses, while the 82mm
Large kit contains 77mm
and 72mm adapters.
Syrp’s fancy packaging
isn’t a case of style over
VERDICT
substance. We found the
filter neutrality to be the
best of the bunch, with
ĹŅƤÏŅĬŅƚųϱŸƋŸåƴĜÚåĹƋţ
The ND2-ND400 range
also contains an
impressive 4-stop band
with no visible exposure
inconsistency. Factor in
the water-repelling and
dirt-resistant front coating
and you’ve got one
excellent filter.
PROS Performance is
flawless; each kit fits three
ƋĘųå±ÚŸĜDŽåŸſŧƚ±ĬĜƋƼÆƚĜĬÚ
and presentation
CONS 67mm Small version
ĜŸŅƴåųĩĜĬĬĜĹŸĜDŽåüŅų
smaller kit lenses
WE SAY It’s not cheap, but
Syrp’s Variable ND is
money well spent
A
P
P
S
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